Master of Fine Arts (MFA), Ohio University, 2007, Art History (Fine Arts)

The primary objective of this thesis is to introduce a new form of visual rhetoric called the "urban sublime." The author identifies certain elements in the work of Edward Hopper that suggest a connection to earlier American landscape paintings, the pictorial conventions of which locate them within the discursive formation of the American Sublime. Further, the widespread and persistent recognition of Hopper's images as unmistakably American, links them to the earlier landscapes on the basis of national identity construction. The thesis is comprised of four parts: First, the definitional and methodological assumptions of visual rhetoric will be addressed; part two includes an extensive discussion of the sublime and its discursive appropriation. Part three focuses on the American Sublime and its formative role in the construction of national identity, and on through the period of Westward expansion. The "urban sublime" is introduced in part four, in which the images are considered first, with regard to historical context, and then, finally, within the discursive forum of the "urban sublime."

Committee: Jeannette Klein (Advisor) Subjects: Art History

Master of Fine Arts (MFA), Bowling Green State University, 2024, Creative Writing

No Dominion is a collection of poems that responds to the experience of the Midwestern natural environment through the voice of a speaker who remains the same and yet changes tonally poem to poem. The title of this collection is pulled from Immanuel Kant's The Critique of Judgement, in which he describes the dynamically sublime as “a power that has no dominion over us” occurring in nature. The landscapes of Ohio that inform these poems are, in reality, sublime experiences more so than beautiful ones, although it is important to mention that the world contains both. In a poem titled, “Overlook,” the tension between the attention toward sublime instead of beauty is clear: “Along ridgelines of slippery rock, / the thin birch saplings stay / thin. And so the many days I depend / on beauty are few.” The speakers of these poems, often close to the poet, contemplate the motion of the environment between the strain of beautiful and sublime, joy and suffering, and most prominently, life and death. It is an experience that is informed by being fearful but not afraid, for the powers that could ultimately crush the human body, such as a storm or ocean, remain beyond the speaker, leaving them unscathed yet transformed by the witnessing.

Committee: Larissa Szporluk Celli M.F.A. (Committee Chair); Abigail Cloud M.F.A. (Committee Member); Amorak Huey M.F.A. (Committee Member); Sharona Muir Ph.D. (Committee Member) Subjects: Fine Arts

Bachelor of Fine Arts (BFA), Ohio University, 2023, Studio Art

This essay describes my thesis for my BFA degree in Studio Art. This paper serves as a memoir of my journey as a painter to flow state. In this essay I outline how social media addiction causes anxiety and how I overcame that anxiety through being in the present through flow state and finding the sublime in my work.

Committee: John Sabraw (Advisor) Subjects: Aesthetics; Fine Arts; Mental Health; Philosophy

MARCH, University of Cincinnati, 2021, Design, Architecture, Art and Planning: Architecture

Humanity currently lacks direction for the future; society must fundamentally change its ways of living and existing. Societies have shifted away from their agrarian past, and many cities are confronted with densification to accommodate an endless flow of new urbanites. Cities are requiring excessive infrastructure to barely produce enough energy and water for the growing populations. Consequently, large regions of the country are left geologically ravaged and discarded once they no longer provide resources for the burgeoning society. If humanity does not reflect and understand what lies ahead, more of the Earth will be devastated in the name of progress. This outlook fuels a new type of architectural discourse, not sustainable, not green, not efficient, but rather pensive and reflective. The new architecture seeks to arrest viewers' attention then release them into a state of introspection and contemplation much like the sublime artwork and literature of the 18th and 19th centuries. These new approaches need used where they are most impactful: in the presence of humanity's ecological transgressions to exploit the tensions between historical devastation and existential revelation. An example of this environment is the Inglewood Oilfields in Los Angeles, California. The oilfields are one of the largest undeveloped pieces of land in Los Angeles representing the fraught history of the city's role in the Industrial Revolution. The richness of the Oilfield's landscape and history combined with methodologies of the contemporary sublime inform the architecture deployed. Sublime architecture, sculpture, and landscape photography conceptually underpin experiences created in this landscape providing moments of repose, remembrance, and existential reflection. The cumulative experiential effect will provoke visitors to reflect on histories of times past by standing as a reminder of where humanity has been and the future it is tasked with creating.

Committee: Michael McInturf M.Arch. (Committee Chair); Elizabeth Riorden M.Arch. (Committee Member) Subjects: Architecture

MA, Kent State University, 2021, College of the Arts / School of Art

Ever since the 16th century, the character of Lucrezia Borgia has captivated and titillated the imagination of countless artists, novelists, and playwriters. Daughter of Pope Alexander VI and later Duchess of Ferrara, she is known in popular culture for being a personification of beauty, seductiveness, and unlimited ambition. This thesis journeys through literary and painted representations of Lucrezia Borgia from the 16th to the 21st century, exploring each portrait as means to exert control over Lucrezia's femininity. If the portraits dating from within her lifetime are examined as the means to idealize her figure and present it as an exemplary model of female propriety and respectability, nineteenth-century productions turn her into an ambiguous character. As her body becomes the site of a conflagration between beauty and vice, love and ambition, Lucrezia is turned into a mythological character employed as a moral cautionary tale. Victor Hugo's play Lucrece Borgia, Pre-Raphaelite paintings, and 20th-century cinematic examples are then used to discuss the appropriation and exploitation of Lucrezia for political and economic objectives first, and consumeristic purposes later. Lastly, the commission of a glass case to display a relic of her hair is analyzed for the first time as the ultimate step in this transformation of Lucrezia from a historical figure to a secular saint of femininity and sexuality. Employing theoretical frameworks drawn from contemporary feminist theory, this thesis ultimately proposes a reading of Lucrezia as a case-study to access to gain access to a wider range of issues concerning female representation.

Committee: Gustav Medicus (Advisor); Shana Klein (Committee Co-Chair) Subjects: Art History

Doctor of Philosophy, The Ohio State University, 2021, History of Art

From its earliest known formulation as an aesthetic concept in the first century CE, the sublime has been explored over the centuries by thinkers as diverse as Pseudo-Longinus, Lord Shaftesbury, Immanuel Kant, and Jean-Francois Lyotard. A defining property of the sublime consistent throughout these various theorizations is its ability to transport the subject, however briefly, beyond the self and into an encounter with the supersensible; a transcendental experience that leaves the subject with an expanded sense of identity and understanding. The European Enlightenment focused on aspects of the sublime which aligned with the prioritization of rationalism and positivism. In keeping with the contemporaneous idea of progress and a belief in the perfectibility of mankind, the ability of the sublime to improve humanity through moral enlightenment was linked to the triumph of reason and emphasized at the expense of sublimity's less humanistic, less intellectual, and more sensual and spiritual elements. This began to change in the early nineteenth century and, by the 1830s, artists were producing work which reached for sublimity through a dramatic and emotional collapsing of the experiential and conceptual distance between the viewer and the work of art. This aspect of the sublime, which I call the immersive sublime, distinguished itself from its eighteenth-century, intellectual counterpart by activating a subject's emotional, spatial, and sensorial perception as a path to sublimity. In relying on fundamental human faculties like empathy and fear to achieve the sublime, the immersive sublime made transcendent experience available to all viewers, regardless of class, gender, education, or acculturation. The desire to eliminate any sense of distance between the viewer and the painting encouraged the use of highly illusionistic representational modes which failed to find favor with the rise of modernist aesthetics that valued the material presence of the artist. The i (open full item for complete abstract)

Committee: Andrew Shelton Prof. (Advisor); Lisa Florman Prof. (Committee Member); Patrick Bray Prof. (Committee Member) Subjects: Aesthetics; Art Criticism; Art History

MARCH, University of Cincinnati, 2020, Design, Architecture, Art and Planning: Architecture

The sublime is a powerful and mysterious experience often seen in nature, and architects regularly attempt to capture this experience in their work. Architects who have been proven successful in provoking the sublime in architecture have consistently integrated the expression of structure as a major part of aesthetics in the design. In Edmund Burke's treatise, A Philosophical Enquiry Into The Origin Of Our Ideas Of The Sublime And Beautiful, he originates the sublime to natural experiences, and centers his arguments around nature. In Burke's treatise specific terms with architectural connotations arise from these experiences such as Terror, Darkness, Unknown, Infinite, Scale, Texture, Material, Color, and Sound. Specific architectural precedents are analyzed and purposefully paired with these terms, and each precedent presents certain qualities in the architecture that produce the sublime. The projects represent a broad spectrum of sublime experiences where the structural strategy is unique to each project, illustrating a particular aesthetic rarely found in architecture. Although the precedents vary in program and concepts, the aesthetics within the space depend on the expression of structure in the design to provoke the sublime. For site consideration, the investigation focuses on a space that has existing qualities of the sublime, while allowing for improvement or additions to the site that can amplify the sublime experience. In Cincinnati, Ohio, Eggleston Ave. is home to a vast expanse of overpasses. The massive structural system supporting the network of overpasses appears endless. Sublime qualities are clearly apparent on the site, and the design project largely became about the interaction of the structure on the site and how to reinforce the sublime atmosphere existing. The conglomerate series of highways covering the site offered a great opportunity in the design to respond to this context through a programmatic element that would utilize the transp (open full item for complete abstract)

Committee: Michael McInturf M.Arch. (Committee Chair); Elizabeth Riorden M.Arch. (Committee Member) Subjects: Architecture

MARCH, University of Cincinnati, 2019, Design, Architecture, Art and Planning: Architecture

Sublime causes transcendence beyond individual understanding, prompting a mental feeling of smallness as a response to the environment. Contemplation follows the emotion-based response of the sublime, testing preconceived perceptions and initiating internal reflection and external dialogue. Repose is the comforting resultant condition, the calm that allows the sublime encounter to develop into memory, charged with the influence of an emotive architecture and environment. Sublime, contemplation and repose can be utilized as tools to formulate new respectful understandings of a site with hidden contextual opportunities. West Virginia has a rich industrial history which has helped to shape America in past centuries. This history has largely become dilapidated and confined to closed and abandoned facilities which are inaccessible and forgotten. The benefits that these facilities held within the country's history is incomprehensibly great and West Virginia lacks the celebratory nature that the state deserves. The region of New River Gorge near the New River Gorge Bridge and the abandoned coal mining town, Nuttallburg, will act as a prototypical catalyst for architectural exploration and implementation through the sublime. Park service efforts have re-stabilized the existing coal facility structures within Nuttallburg, however have not provided further incentive for visitation and fall short in contextual comprehension. The site possesses inherent sublime elements within the surrounding nature, historical structures, coal production and hints of coal consumption. In proposing architectural interventions and expressions of site, aspects of the existing sublime will be enhanced, in addition to the creation of new complimentary moments of sublime. The unity between new architecture and existing context seeks to improve the perceived image of West Virginia and its vast contribution to nationwide industry.

Committee: Aarati Kanekar Ph.D. (Committee Chair); Michael McInturf M.Arch. (Committee Member); Vincent Sansalone M.Arch. (Committee Member) Subjects: Architecture

Doctor of Philosophy, Miami University, 2017, English

This dissertation examines the disconnect between rhetoric and poetics in the field of composition studies and argues that style can mend this frayed relationship. Chapter one asserts that rhetoric and poetics were separated by historical accident; however, the poetic tradition is central to rhetorical study and must be reclaimed, and style serves as a key concept. Chapter two analyzes the figures in rhetorical manuals and recovers these tools for style pedagogy. Chapter three reclaims visual theories from classical rhetoric and shows how these theories reinvigorate pedagogy and allow us to think about style beyond alphabetic text. Chapter four asserts that style can be practiced within a larger aesthetic approach to the teaching of writing that invites creative experimentation and risk. The study includes student writing and student interviews; it also makes the case for alternative assessment practices. Finally, chapter five argues that the field can and should take style seriously, from the first-year writing course to graduate training to overall programmatic goals. This requires imagination and consciously looking beyond our disciplinary limits.

Committee: Jason Palmeri (Advisor); Kate Ronald (Committee Member); John Tassoni (Committee Member); Elaine Miller (Committee Member) Subjects: Composition; Rhetoric

M.A. (Master of Arts in English), Ohio Dominican University, 2016, English

Despite numerous theories over the last few centuries and ample scholarship exploring the sublime and the grotesque as independent elements in literature, scholars seem to have ignored linking these two elements in their analyses of and critical responses to the modern novel. Little scholarship exists to decipher and to support why together the grotesque and the sublime are essential characteristics of the modern novel—specifically, Carson McCullers's The Heart Is a Lonely Hunter (1940)—and how they become necessary in tandem to illuminate the human condition, to personify the Other, and to evaluate Mick Kelly's Bildungsroman. In The Heart Is a Lonely Hunter, McCullers cultivates these qualities to create the perfect amalgam of timeless despair and loneliness amidst the struggle to survive. The Other, like the sublime and the grotesque, highlights simultaneously the oppositions and the similarities in people only to suggest that people become the Other when this examination occurs, while the human condition, like the sublime and the grotesque, yields many definitions, theories, and differences, but as these conditions materialize, they significantly affect responses to stimuli and to people and provoke readers to consider why humans are the way they are and why they behave as they do. In order to establish these links and continue a discussion regarding their use in tandem, Chapter 1 explicates the theories of Victor Hugo and Thomas Mann, two writers who see purpose in the unification of the grotesque and the sublime in modern literature, and connects these theories in terms of McCullers's characters, landscapes, and situations. Chapter 2 focuses on the novel's female teenage Other Mick Kelly and the unpredictability of her adolescence and employs Hugo's and Mann's theories to inspect Kelly's experiences, uniting the grotesque and the sublime within Kelly's Bildungsroman. Chapter 3 briefly defines the Other and identifies some of McCullers's male cha (open full item for complete abstract)

Committee: Jeremy Glazier MFA (Advisor); Martin Brick PhD (Other) Subjects: American Literature; Literature; Modern Literature

M.A. (Master of Arts in English), Ohio Dominican University, 2016, English

The sense of place in Appalachian literature has gone through a unique evolution, from its early role in the fiction of the region tied to stereotypes with the voice of the outsider over the insider's to the renaissance of poetry in the region in the late twentieth century where the Appalachian authors regained their place. This unique evolution in the sense of place provides an avenue for the literature of Appalachia to gain canonical leverage. Two West Virginia poets, Muriel Miller Dressler and Irene McKinney, exemplify this in their use of the sublime. Several poems for each author combine place and the sublime, particularly in their poems dealing with outsiders and the destruction of the mountains through coal mining. This dichotomy of place and its ties to nature hearken to the sublime and a redefining of this literary term of antiquity where humanity becomes the terror. An ideal starting point for considering Appalachian literature in the canon is to increase its use it within the Appalachian classroom.

Committee: Kelsey Squire Ph.D. (Advisor); Martin Brick Ph.D. (Advisor); Ann Hall Ph.D. (Other) Subjects: American Literature; Literature

Doctor of Philosophy, The Ohio State University, 2015, English

An apparent rift exists between the anti-aesthetic emphasis in postmodern and contemporary literary theory, on the one hand, and readerly appreciations of and engagements with the aesthetic, on the other. This tension between anti-aesthetic critical paradigms and aesthetic experiences of fiction is the central problem I examine in my dissertation. By putting philosophical, aesthetical, narrative, and literary traditions in conversation with each other, I propose a new framework for understanding aesthetic impulses at work in twentieth- and twenty-first-century fiction by revising Immanuel Kant's and Friedrich Schiller's heuristic tools and categories—which I argue remain pertinent to understanding twentieth and twenty-first century fiction. Drawing on these and other contributions to aesthetic theory, I suggest that post-war fiction is dominantly concerned with the harmonies, engagements, and tensions between what I term the form-drive, the moral-drive, and the sense-drive, in relation to readerly roles and responses. Part I includes two chapters devoted to play, which I characterize as the dominant aesthetic energy that characterizes postmodernist fiction (McHale). My analysis of Flann O'Brien's At Swim-Two-Birds (1939) and Alasdair Gray's Lanark (1981) relates to readers' inhabitation and orientation of the playful, complex ontological worlds of postmodern fiction. I use the tension/conflict between the form- and sense-drives to characterize the aesthetic category of play, and suggest that Marie-Laure Ryan's possible-worlds theory provides a useful critical apparatus for explicating how the form-drive functions as a system of ordering in readers' navigations of these ontologically-complex fictional worlds. Part II deals with the ways in which twentieth- and twenty-first-century fiction has reinvigorated traditional aesthetic categories. In chapter three, I use Flann O'Brien's The Third Policeman (1939-40/1967) and Cormac McCarthy's Blood Meridian (1985) to demon (open full item for complete abstract)

Committee: Brian McHale (Advisor); David Herman (Committee Member); James Phelan (Committee Member) Subjects: Aesthetics; American Literature; British and Irish Literature; Ethics; Literature

Master of Arts (MA), Bowling Green State University, 2014, English/Literature

This thesis examines the way post-industrial capital manifests itself and attempts to define how it functions. Zizek's theorization of capital's fantasy dimension and its simultaneous role as the Lacanian Real is evaluated. Zizek's concept of the ideological fantasy is deemed helpful as it aids in explaining how capital perpetuates itself in a world that appears aware of its failures. His conceptualization of capital as the Real is considered to be counter-productive as it reduces the phenomenon in question to an impermeable abstraction that cannot be schematized or analyzed in any detail. In an effort to address this problem, Franco Berardi's notion of semio-capital is discussed. Berardi's work is determined to be a vital supplement to Zizek's analysis as it enables us to perceive the way in which capital functions as a master-signifier that operates according to the logic of recombination. The benefit of theorizing capital in this way is that it permits us to appreciate one of capital's chief antagonisms—the production of the experience of attentional disorders as a series of symptoms that are averse to capital's functioning and the simultaneous construction of Attention-Deficit-Hyperactivity Disorder as a discursive regime aimed at policing these symptoms.

Committee: Erin Labbie (Advisor); Becca Cragin (Committee Member) Subjects: Literature; Philosophy

PhD, University of Cincinnati, 2008, Arts and Sciences : English and Comparative Literature

Lunulae, by Claudia Skutar, is a creative dissertation containing original poems, a nonfiction essay, and a critical paper on the writings of contemporary American poet Mary Oliver titled “Mary Oliver's Quest for the Sublime.” The creative portion of the work comprises five sections, four of poetry and one with the creative nonfiction essay, “Getting to Water.” The lyric and narrative poems use relationships and nature as settings to describe themes of love, loss, aging, and death, essentially much of the emotional stuff of the human life cycle. The personae of these pieces often center on the narrative “I” but do move at times to the voice of a third-person narrator. The shift creates a tonal range in the work which allows transverse between the intimate and the universal in human experience. While the narrative “I” is not intended to be autobiographical, it is a deliberate locus of the pieces because it is through the “I” that human experience occurs. In contrast to the poems, the nonfiction essay, “Getting to Water,” is based in autobiography and is included here as a complement to the poems to illuminate the importance of landscape as a setting in the work as a whole. The critical paper, “Mary Oliver's Quest for the Sublime,” is included here for the same reason. The central focus of this examination of Oliver's work is the key role that nature plays in her aesthetic. Lunulae as dissertation is thus knit together at its core by its references to the natural world, in which all life is rooted.

Committee: Donald Bogen Dr. (Committee Chair); John Drury Prof. (Committee Member); Joanie Mackowski Dr. (Committee Member) Subjects: English literature

Doctor of Philosophy, The Ohio State University, 2008, Art Education

This study traces the emergence and defines the role of spirituality in the contemporary visual arts and examines and proposes possibilities for nurturing that role through philanthropic foundations within the context of postmodern American culture. The study describes the issues and changing attitudes regarding spirituality in art within the artworld and the philanthropic community. Extensively analyzing the work of contemporary artist Bill Viola (b. 1951), the study examines the references to the sublime and spirituality in his work and their connections with postmodern theory. The contemporary discourse of the sublime, championed by French philosopher Jean-Francois Lyotard (1924-1998), serves as a structural grounding for spirituality in a postmodern context. Recommendations and subsequent implications are made for combining contemporary research, writings, and artistic creations that are spiritually centered in order to understand the potential impact of the growing phenomenon of spirituality in art. The study identifies issues and problems and poses new possibilities for substantively supporting, encouraging dialogue, and disseminating information about spirituality in art that enables it to thrive in postmodern American culture.

Committee: Wayne P. Lawson PhD (Advisor); Sydney Walker PhD (Committee Member); Patricia Stuhr PhD (Committee Member); Jennifer Cheavens PhD (Committee Member) Subjects: Art Education; Art History; Fine Arts; Philosophy

Doctor of Philosophy, The Ohio State University, 2004, Spanish and Portuguese

This dissertation examines the aesthetic concepts of beauty and the sublime in the representation of violence, in several Latin American novels and films (Fernando Vallejo's La virgen de los sicarios (1994); Jorge Franco Ramos's Rosario Tijeras (1999); La virgen de los sicarios (2000), directed by Barbet Schoeder, and Rodrigo-D No Futuro (1990) directed by Victor Gaviria, and Amores Perros (2000) directed by Alejandro Gonzalez Irarritu); as well as in Spanish novels and films (Juan Marse's, Si te dicen que cai (1973); Si te dicen que cai (1989), Amantes (1991) and Libertarias (1996), directed by Vicente Aranda). In the above-mentioned works, violence is a central theme. Through close analysis of these films and novels I explain how the violence depicted in them clearly serves an aesthetic purpose. To explain the aesthetic value of these films, I analyze them by means of classical definitions of the concepts of beauty and the sublime. I argue that these concepts relate to the aesthetics of pleasure, which are used by the authors and filmmakers to suture their readers and viewers into the text. I explain how the violence, cruelty, and brutality of war remain in the collective memory of the people of Colombia, Mexico and Spain and permeate their cultural representations. I also explain that cruelty is necessary for artistic creation and finally, I argue that this aesthetic creation serves a political purpose for a specific cultural identity. The works of Longinus, Edmund Burke and Immanuel Kant provide a theoretical framework to understand the identification of art and violence. Sigmund Freud's theory of the libido and Jacques Lacan's theory of the mirror stage, are examined to explain how film narratives and novels of violence can work at the unconscious level to suture the viewer to the text, providing a pleasurable experience closely tied to the sublime. Finally, Friederich Nietzsche's postulates on the need of the true artist to devoid himself of morality to be abl (open full item for complete abstract)

Committee: SAMUEL AMELL (Advisor) Subjects: Literature, Latin American

Doctor of Philosophy, Miami University, 2004, English

This dissertation analyzes points of conflict in which the ideological make-up of English culture was radically challenged by some key texts during the Romantic Period (1780- 1830). Specifically, each chapter demonstrates that particular works of literature offer unique forms of the sublime. The introduction constructs a comprehensive theoretical map of the ideas used to make these claims: specifically, the ways in which Lacanian psychoanalytic theory, as it has been re-formulated by Slavoj Zizek and others, offer us a mode by which we can grasp the radical nature of some works of art. Using a nineteenthcentury painting as an example, the introduction details the odd career of Manet's Olympia and the critical as well as public upheaval that attended the painting Chapter one analyzes William Blake's “The Marriage of Heaven and Hell” situating the poem within its historical context. Blake's poem reveals a form of the sublime that resists dialectical synthesis, and, by doing so, resists the constraints of dominant ideological forms of thought – forms of thought that would naturalize the overdetermined drives of emerging capitalism. As I argue in chapter two, Charlotte Smith's Elegiac Sonnets speak to fundamental forms of gender ideology in ways that defy the misogynist codes of thought characterizing the historical period. Smith's sonnets evoke a sublimity that exceeds the confines of ordinary language. Chapter three claims that The History of Mary Prince reveals the power of the human will in the most adverse of conditions: slavery. Prince's narrative demonstrates moments at which, in confronting overwhelming power, the human will can release a sublime hole in the discursive construction of an oppressed people.

Committee: Laura Mandell (Advisor) Subjects: Literature, English

MARCH, University of Cincinnati, 2013, Design, Architecture, Art and Planning: Architecture

The feeling of smallness is a disconcerting experience. When one faces the vastness of nature or contemplates the endless progression of time, their sheer incomprehensibility intimidates. But there is also pleasure from such encounters, liberation from conceding to one;s limitations. Since antiquity, a term has been used to signify the origin of these paradoxical experiences: the sublime. In a site in Cincinnati, a place that embodies the vastness and privations characteristic of the sublime, an architectural investigation was carried forth. The site, once part of a productive industrial corridor, has decayed into ruins following the retreat of industry and the subsequent closure of rail lines. Ruination, in its physical manifestation of temporality, constitutes a sublime concept. Everything turns to dust. In the post-industrial city, abandoned sites such as this are prevalent, but societally ambiguous. They are marginalized for their lack of defined purpose, islands of void in the urban fabric. The fate of industrial ruins is typically demolition, particularly if the original buildings' purpose was to accommodate specific processes. As a result, the latent potential of these places to convey the sublime is experienced by few, by urban explorers, by squatters. In order to reincorporate society, these places must be foregrounded. How does one engage the sublimity inherent to a specific post-industrial ruin, while reintegrating the place with contemporary society? Through analysis, the sublime elements of the site will be identified and dictate the intervention. The context will inform the program and define its place within society. The site is relatively isolated from the city and yet this detachment provides a setting for contemplation. By implementing various concepts, including site specificity, the terrain vague, and the picturesque, the inherent sublimity of the site will be amplified, and the previously overlooked will be illuminated.

Committee: Michael McInturf M.Arch (Committee Chair); Aarati Kanekar Ph.D. (Committee Member) Subjects: Architecture